


The Heroine's Journey of Sora

by The_Violet_Howler



Series: Kingdom Hearts and the Heroine's Journey [1]
Category: Kingdom Hearts
Genre: Analysis, Gen, Heroine's Journey, Kingdom Hearts III Spoilers, Meta, Nonfiction, Originally Posted on Tumblr
Language: English
Status: Completed
Published: 2020-05-30
Updated: 2020-05-30
Packaged: 2021-03-03 03:34:27
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 4,005
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/24448162
Author URL: https://archiveofourown.org/users/The_Violet_Howler/pseuds/The_Violet_Howler
Summary: An analysis of the Kingdom Hearts series through the lens of the Heroine's Journey
Relationships: Riku & Sora (Kingdom Hearts)
Series: Kingdom Hearts and the Heroine's Journey [1]
Series URL: https://archiveofourown.org/series/1765777
Comments: 5
Kudos: 32





	The Heroine's Journey of Sora

What many Kingdom Hearts fans do not realize is that while Tetsuya Nomura does sometimes make up the details as he goes when it comes to the writing of Kingdom Hearts, he does do things with a plan. 

In the KH3 Ultimania [1], he talked about how he’d had the conclusion of the Dark Seeker Saga outlined by the end of Kingdom Hearts II’s development. In an April 2012 interview [2] with Nintendo President Satoru Iwata, he indicated that he’d had a general framework up to Kingdom Hearts II planned out when the original game was first announced. And in a 2004 interview after the original Chain of Memories was released on GameBoy Advance, he mentioned that he’d already come up with the “last scene” that would serve as the definitive ending of the entire series[3]. 

So while some details may be hard to predict because Nomura comes up with lore and backstory details as he goes, he does have a plan in mind where the overall story is going. And the central arc of the series is entirely predictable once you understand the framework that the story fits into. 

Since the late 1800s, scholars have been studying the common patterns that repeat in stories, legends, and myths across different cultures around the world. One of the most well known templates developed from such research is the Hero’s Journey. In his 1949 book The Hero with a Thousand Faces, literature professor Joseph Campbell published a 17 step formula of storytelling. Campbell held up this framework as the monomyth, an ultimate narrative archetype from which all other stories are derived, and in discussion of his work expressed his view of The Hero’s Journey as a universal framework that showed how people grow from youth into adulthood.

However in the 1980s, Maureen Murdock began work on her own narrative framework. Believing that Campbell’s view on the universality of the Hero’s Journey did not encompass the experiences of every identity like he claimed, Murdock developed what she called The Heroine’s Journey as a critique and response to Campbell’s monomyth. Other authors have shared their own variations of the Heroine’s Journey, but for the purposes of this analysis, I will be focusing on Murdock’s model. Hers is both the oldest one I know of, and the one that I personally have the most familiarity with. Though originally conceived as a therapy tool, the core concepts of Murdock’s template have resulted in its use in storytelling for narratives about protagonists overcoming the ingrained biases and preconceptions of society. 

Some notable examples of stories that follow the Heroine’s Journey template, albeit most with different formulas, include 

  * Beauty and the Beast
  * The Hunger Games trilogy
  * The Princess and the Frog
  * Tangled
  * Howl’s Moving Castle
  * Labyrinth 
  * Star Wars Sequel Trilogy*
  * Voltron: Legendary Defender*



_*Note: Voltron: Legendary Defender and the Star Wars Sequel Trilogy are examples of 3-act narratives that followed the Heroine’s Journey framework in the first 2 acts only for behind-the-scenes conflicts to result in the formula being abandoned in the final act._

Despite the name, it is possible in theory to have a male protagonist follow the Heroine’s Journey, much like how you can have a female protagonist in a Hero’s Journey. While nearly every story I know that follows the Heroine’s Journey template has a female protagonist in the lead role, Kingdom Hearts is the first example that I’ve discovered of a male protagonist following this formula. Sora’s arc across the series follows Murdock’s framework so precisely that I was able to correctly predict the broad strokes of how Re:Mind would go three months before the DLC was released. 

## Part I: The Beginning

While the Heroine’s Journey mimics the Hero’s Journey in its early stages, it ultimately goes in its own direction. I plan to go into further detail about the differences between the two in a later essay, but for now I will say that while Campbell’s monomyth describes physical plot points and the themes they represent, the Heroine’s Journey formula focuses on the emotional conflict of the narrative and the psychological development of its main characters. The pattern of the Hero’s Journey is fluid and doesn’t have a fixed central theme, while the core element of the Heroine’s Journey is a protagonist coming of age in a society that consciously or not regards them as lesser because they do not fit in with the expectations of the dominant social group. 

I know that some people who decide to read further will be put off by the fact that the names and descriptions of the Heroine’s Journey feature gendered language and focus on discussions of masculinity and femininity, so allow me to explain. The reason for this is that in a Heroine’s Journey, the protagonist is attempting to conform to a set of traits that the audience’s culture values. In pursuing this external validation, the main character has to suppress a vital part of who they are, cutting themselves off from achieving their full potential. The traits they are suppressing are the ones which are often regarded as feminine, while the ones they are trying to conform to are typically associated with masculinity. We see this pattern frequently in movies where the female lead tries to succeed in a male-dominated career field, only to feel lonely and unfulfilled when she finally gets what she wants because she sacrificed the parts of herself that made her who she is along the way. 

Now that I’ve given you a relatively brief summary of the Heroine’s Journey, I can get down to business and walk people through the steps to this template and how it fits with the story of Kingdom Hearts. Note that this is only a basic rundown of the steps of the Heroine’s Journey and how it relates to these games, and I will be posting additional essays shortly which go into greater detail on the themes, character archetypes, and other different layers of the framework that are present in the series. 

Murdock’s version of the Heroine’s Journey begins with the “Separation from the Feminine”. This is the stage where, as mentioned, the protagonist suppresses a core part of themselves in pursuit of external validation. It often takes the form of the protagonist sacrificing their emotional strengths and focuses exclusively on proving themselves in the physical sphere. Sora has demonstrated again and again that his greatest strength is his empathy and his willingness to make connections with others. It makes him a strong unifying force because of how well it complements the people around him. But because this isn’t something tangible in the same way that physical strength is, he doesn’t see the value of it, believing that without the strength of his friends he’s nothing. 

From the way the other kids on Destiny Islands talk about their competitions, Sora’s focus is on trying to prove that he’s just as strong and capable as Riku is. But he’s so focused on proving himself in physical challenges that he doesn’t notice the signs of Riku’s jealousy that lead his friend into the arms of Maleficent. And we see through Anti Form and Rage Form that Sora is still repressing his own negative emotions in Kingdom Hearts III. His narrow focus on external skills has cut him off from achieving the full potential of his internal ones. 

When Sora awakens in Traverse Town after the destruction of Destiny Islands, we come to the second stage of the Heroine’s Journey, “Identification with the Masculine and Gathering of Allies”. This is where the main character chooses to align with the traits and roles that the dominant social group sees as desirable in order to achieve their goal, and where they acquire the allies who will help them in their quest. With the adults around him focusing on his ability to destroy the Heartless, Sora latches onto the Chosen One status that implicitly comes with having a Keyblade. His interactions with Phil and his disappointment with the status of Junior Hero in subsequent games paint Sora as being focused on heroism in the sense of overcoming obstacles with force. Even Donald and Goofy, in the beginning, are focused on Sora’s value as a Keyblade Wielder in terms of how their fight against the Heartless can lead them to King Mickey’s location.

By setting off with Donald, and Goofy, Sora embarks on the “Road of Trials” stage of the Heroine’s Journey. This is one of the few points of similarity between the Heroine’s Journey and the Hero’s, corresponding to Campbell’s “Tests, Allies, and Enemies” stage. This is where the main character faces the initial obstacles and challenges of their quest. In the first few Kingdom Hearts games we have Sora face off against Maleficent, Ansem, and the Organization, before reuniting with Riku and Kairi in The World That Never Was. The final stages of Kingdom Hearts II correspond to the “Finding the Boon of Success” stage of both the Hero and Heroine’s Journeys. 

## Part II: Interlude

In a Hero’s Journey, the Boon of Success is the end of the story. They slay the dragon, save the princess, and go home to live happily ever after. I suspect this is one reason why a lot of gamers in the KH fanbase tend to think of Kingdom Hearts 2 as the best game of the series - because in their minds Sora’s quest had been completed now that he had found Riku and Kairi like he set out to do in the first game. His journey, as far as they were concerned, was done. 

_(This may also have an affect on how some fans reacted to Kingdom Hearts III, expecting it to be a grand epic finale that wrapped everything up with a bow and left a completely blank slate for the future of the series)_

But in a Heroine’s Journey, the Boon of Success is not the end of the main character’s story. They have achieved their external goal, but they have not addressed their internal motivations for seeking that goal in the first place. And as their story continues, they find themselves facing challenges that their attitude thus far has failed to prepare them for. Finding The Boon of Success typically occurs early during the second act of the story. Usually it is achieved in the second half of Act II, but can sometimes happen as early as the end of the first act. For Sora, this was of course finding Riku and Kairi so that they could all go home to the Destiny Islands together.

But because the protagonist of a Heroine’s Journey has not addressed the underlying insecurities which set them on their current path, they “Awaken to Feelings of Spiritual Aridity”. 

They begin to learn that the conflict they find themselves involved in is not as clear cut as they previously believed, and the challenges that come with this new knowledge are ones that their current way of doing things has failed to prepare them for. They may have found their boon of success, but things quickly begin to go wrong until they are ultimately forced to sacrifice their reward. 

The first game already showed through Riku and Mickey that Sora was not the only person able to wield a Keyblade, but because of his heroic deeds the story still framed him as _the_ Keyblade Master and treated him as having a more significant role to play in important events than anyone else. It’s only after he hears from Mickey of the Keyblade Wielders who came before him that it begins to sink in for him that being a Keyblade Master is not a special Chosen One status. He thinks that because of all that he’s accomplished, he doesn’t need the recognition that comes with the official title, and because of that he’s careless and almost gets himself Norted at the end of DDD. 

His failure in the exam is a blow to his self confidence and shows that despite what he had said at the start of the test, deep down he really does want that kind of external validation. His insecurities and doubts continue to eat at him over the course of KH3, culminating in his breakdown at the Keyblade Graveyard. Outside of battle, we see him bottle up his doubts and other negative emotions because his friends (Except for Riku. More on him later) brush his concerns and problems aside. It is very much like Joy from Inside Out doing everything to keep Rylee happy and refusing to let Sadness take the controls. 

When their current way of doing things ultimately costs them their boon, the protagonist tries to go back to the way things used to be. To return to a simpler time and avoid the pain of the present. When literally going back to where their journey began isn’t possible, a Heroine’s Journey story will use this stage symbolically. The main character will cling to a person, object, or relationship that they associate with a simpler time. But as comfortable as the sense of familiarity they get from that is, it ultimately cannot truly address their inner pain in the long run.

This is reflected in the Re:Mind DLC, where Sora goes back in time in order to find the pieces of Kairi’s heart and bring her back. One of Kairi’s most consistent character traits is her fear of change and desire for things to remain the way they were. 

At the end of the DLC, Sora compares his connection with Kairi to the bond between Ventus and Chirithy, a friendship explicitly strained by distance, time, and Ven’s amnesia. In an interview at E3 2018 [4], Nomura commented about Kingdom Hearts III tying into a theme of childhood friendships changing as one gets older, a plotline that Merlin calls attention to after Sora’s visit to the 100 Acre Wood. And in a 2006 book titled Character’s Report Vol. 1, Nomura specifically calls attention to Kairi’s anxiety about growing apart from Sora and Riku as they get older. [5] All of these details combined frame Sora’s quest to save Kairi as an attempt to symbolically recover the innocence he lost when he began his journey.

But while he is able to find a way to renew his connection to Kairi, it can never be the same as it was before, and attempting to go back to how things used to be is ultimately doomed to failure. By the time he brings her to The Final World at the end of Re:Mind, Sora has realized that he and Kairi cannot stay on the same plan of existence anymore as a consequence of his actions. So he takes her on a tour of the worlds to re-establish their connection before fading away at the end of KH3. Thus, we come to the final act of the Kingdom Hearts narrative. 

## Part III: The Future Story

It is at this point that the protagonist of a Heroine’s Journey begins the “Initiation and Descent to the Goddess” stage. Having failed to achieve meaningful success through their old way of doing things, they must look inward and examine the cause of their insecurities and accept that in order to move forward they need to heal themselves. In this step, the main character travels to either a dream world or a physical location that is closed off and forbidden to them, like the West Wing of Beast’s Castle in Beauty and the Beast. In Jungian psychology, this metaphorical dark cave represents the main character’s subconscious, and entering it triggers a dark night of the soul for our protagonist as they are forced to confront the parts of themselves they’ve been keeping locked away.

While Sora knows in his head that darkness is not inherently bad, he continues to rely entirely exclusively on light, on his connections to others, and has not properly accepted it in his heart. In order to truly finish his coming of age narrative, Sora must learn to balance his inner light and darkness the same way that Riku has. And to do that, he needs to look inside himself and figure out why he feels so badly that he needs his connections to others in order to be strong. And in order to achieve that level of understanding of himself, he needs to understand his Animus. 

Derived from the psychological theories of Carl Jung, the Animus in a Heroine’s Journey is an external representation of the protagonist’s masculine-coded traits in physical form. While not every Heroine’s Journey features an Animus, many of the stories I’ve seen that follow the formula do. Usually the Animus appears in the form of a deuteragonist who often functions as the protagonist’s Shadow, an archetypal character that embodies the aspects of the main character’s personality that due to their immaturity they either aren’t aware or don’t want to acknowledge that they have. 

In order to complete their character arc, the protagonist must symbolically integrate with their Shadow by learning to embrace the parts of their psyche that the Shadow represents. In many stories the protagonist has more than one Shadow figure, all of whom challenge the protagonist by forcing them to become faster or smarter to stay one step ahead, giving their interactions with the main character a push-and-pull dynamic as they drive the main character to grow. Shadow figures who fill the role of the Animus also challenge the protagonist to look inside themselves and examine their own emotional needs. With an Animus, the push to grow runs in both directions, with the main character motivating their Animus’ growth just as much as the other way around. 

In these types of stories, every aspect of the character is tailored to make the Animus and the protagonist fit together like Yin and Yang. In visual stories such as film, television, and video games, the Animus’ entire look is designed to complement the main character and they are framed in the narrative as the protagonist’s equal physically, intellectually, and spiritually. This serves to emphasize that despite their surface differences, much of the conflict between the protagonist and their Animus comes from the ways in which they are fundamentally similar. While their circumstances may have led them to drastically different lives, the characters are ultimately two sides of the same coin, and their character development is driven by learning to balance their contrasting traits.

And within the structure of the Kingdom Hearts series, there is only one character who fulfills all of these qualities in relation to Sora’s journey. 

The same character who Testuya Nomura said in the KH1 Ultimania was designed to balance Sora; [6]

Who series producer Shinji Hasimoto said was part of the core of the series alongside Sora [7], as has been repeatedly emphasized by the number of games where he is given a major focus and is a playable character alongside Sora. 

While Sora and Riku have addressed some of the latter’s behavior in the first game during their conversation on the dark beach at the end of Kingdom Hearts II, they have yet to truly dig deep into why Riku felt the way he did in the first game. Riku has not told Sora about how he felt like he was being left behind and forgotten. And since that conversation, Riku has gone to the opposite extreme, dealing with his emotional problems on his own instead of lashing out at others like he had done at the start. Likewise while Sora has accepted that darkness is not inherently evil he has yet to apply this to his own negative emotions, as seen in Kingdom Hearts III. Neither character has truly achieved an ideal balance yet, and they cannot until Sora completes his journey. 

After the protagonist returns from their spiritual journey, they experience an “Urgent Yearning to Reconnect with the Feminine.” As the main character recovers from their period of soul searching, they embrace the parts of themselves that they had neglected in their pursuit of outside approval. Their Descent allowed them to recognize their value as a person and an individual outside of their ability to fulfill the role that they were expected to fill. Following this realization, they go about “Healing the Mother/Daughter split”. Reclaiming the aspects of their personality they’ve been repressing gives the protagonist the clarity necessary to gain a different perspective on their old way of thinking. This new understanding is what will allow them to find the inner balance needed to truly complete their journey. 

The Japanese version of the “My friends are my power” mantra often repeated across the series is “Connected hearts are my power.” For Sora, who has long relied on his connections to others as a source of strength, he should come to realize that these connections go both ways: that his friends draw strength from him just as much as he draws strength from them. This should help him come to accept that he is still strong and worthy all by himself. Ven’s version of the mantra from the English version of BBS summarizes it best: “My friends are my power. And I am theirs.” After he accepts this, Sora will finally be able to use the full extent of his emotional abilities.

After achieving that new perspective, the protagonist’s next step is “Healing the Wounded Masculine Within”. This is the stage of the Heroine’s Journey where the main character, having come to understand themselves, reconciles with their Animus, thereby symbolically integrating the aspects of their psyche that the Animus represents and permanently healing the rift between the two characters. This will be where Sora and Riku need to have a longer, more in-depth conversation than the one they had on the Dark Magin at the end of KH2. Where they talk about why Riku acted the way he did and finally address the underlying reason for why he was so jealous of Sora in the original game. 

The final stage of the Heroine’s Journey is the “Integration of Masculine and Feminine”. This is the point at which the main character and their Animus finally achieve a perfect balance between them. They are united both internally and externally. There are no more secrets between them, and they are now free to move forward and overcome the main antagonist together. 

## Part IV: Conclusion: 

While there’s too many different possibilities to completely predict every twist and turn of the series’ lore in future games, once you understand how Kingdom Hearts fits into the framework of the Heroine’s Journey, the broad strokes of how the story will go in terms of Sora’s growth and character development are entirely predictable. When Re:Mind first released and the rest of the fandom was reacting on Twitter, I was sitting back with a smug smile on my face thinking:

While I didn’t expect the precise mechanics of how Sora went about saving Kairi, Re:Mind was exactly what I expected it to be in terms of themes and its place in the Heroine’s Journey framework, and then the Secret Episode came along to reinforce that the next game is going to be Sora’s Descent.

While there isn’t a complete guarantee that the series will continue to follow the formula, I find it extremely unlikely that it won’t. Kingdom Hearts follows the stages of this framework too precisely for me to ever believe it happened by accident. So as long as there is no corporate interference from Disney like what happened to Voltron, I’m confident that Nomura’s plan for the finale of the series will be exactly what the Heroine’s Journey predicts it should be, no matter how unexpected future additions to the lore may be.

Special thanks to @dragonofyang and the rest of Team Purple Lion for everything I know about the Heroine’s Journey. I wouldn’t be as enthusiastic about analyzing the story of Kingdom Hearts if they hadn’t taught me the vocabulary to realize the kind of story that Nomura has been telling right under my nose for the last 18 years.

**Author's Note:**

>  **Sources:**  
>  [1] “Kingdom Hearts III Ultimania interview with Tetsuya Nomura”; March 12, 2019  
> https://www.khinsider.com/news/Kingdom-Hearts-3-Ultimania-Main-Nomura-Interview-Translated-14763  
> [2] “Iwata Asks: Nintendo 3DS: Third Party Game Developers, Volume 12: Kingdom Hearts 3D [Dream Drop Distance], Part 2: It’ll definitely be fun”; April 2012.   
> https://iwataasks.nintendo.com/interviews/#/3ds/creators/11/1   
> [3] “2004 GMR Nomura Interview 2004!”; Translation by Kingdom Hearts Insider posted May 5, 2012.   
> https://www.khinsider.com/news/GMR-Nomura-Interview-2004-2563  
> [4] “E3 2018: Tetsuya Nomura on If Kingdom Hearts 3 Is the End of Sora's Story”; June 14, 2018.  
> https://www.ign.com/articles/2018/06/14/e3-2018-tetsuya-nomura-on-if-kingdom-hearts-3-is-the-end-of-soras-story  
> [5] “Character’s Report Vol. 1 Translations”; Jul 16, 2014  
> https://www.khinsider.com/forums/index.php?threads/characters-report-vol-1-translations.195560/\  
> [6] “A Look Back: Kingdom Hearts Ultimania Gallery Comments Part 1″; August 30, 2019;  
> https://www.khinsider.com/news/A-Look-Back-KINGDOM-HEARTS-Ultimania-Gallery-Comments-Part-1-15519  
> [7] “How Kingdom Hearts III Will Grow Up With Its Players.” September 24, 2013  
> https://www.ign.com/articles/2013/09/25/how-kingdom-hearts-iii-will-grow-up-with-its-players.  
> [X] “The Heroine with a Thousand Faces”; June 13, 2019;  
> https://www.teampurplelion.com/heroine-with-a-thousand-faces/  
> [X] Murdock, Maureen. The Heroine’s Journey. 1990.  
> [X] “Maureen Murdock’s Heroine’s Journey Arc”. The Heroine Journeys Project. https://heroinejourneys.com/heroines-journey/


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